Didn't Hogan Sheffer explicitly say he doesn't do corporate storylines? That doesn't excuse MAB, but when he was hired, I remembered that Sheffer had said that.

Didn't Hogan Sheffer explicitly say he doesn't do corporate storylines? That doesn't excuse MAB, but when he was hired, I remembered that Sheffer had said that.

Then she's a moron for hiring him in the first place.

Perhaps a three-line synopsis?

It's not three lines, but I hope this helps.

(Source: SoapCentral)

Scott came close to killing DV and held him captive while taunting him over his love for Scott's biological mother Meg. DV sent Scott psychic images to convince Scott that Lucy was double-crossing him, leading Scott and Lucy to believe that DV was using psychic espionage. Kevin suggested that all of them break up and he and Lucy pretend to get back together so DV would let his guard down. All were reluctant, but agreed. Scott and Lucy uploaded a virus and successfully destroyed DV's evil Cobra Project. DV then kidnapped Lee but Scott and Kevin got him back. When Scott was arrested for shooting DV, everyone knew that he was being framed. Kevin and Eve found a corrupt cop that had been paid to plant evidence against Scott. Eve got the cop's confession on tape and Scott was cleared. Through all of this, DV Bordisso was revealed to be Scott's biological father!

I'm pretty sure most of this happened after Lynn Marie Lethal left. This was part of Scott Hamner's solo run as HW of Port Charles.

Edited August 1, 200916 yr by bellcurve

Oh, wait. Then I didn't understand a thing. How does psychic espionage tie into my post?

Oh, wait. Then I didn't understand a thing. How does psychic espionage tie into my post?

It doesn't.

I use "Pyshcic Espionage" when generally referring to the silly, supernatural stuff that Hamner likes to do in addition to this "Movie Murder of the Week."

Edited August 1, 200916 yr by bellcurve

It doesn't.

I use "Pyshcic Espionage" when generally referring to the silly, supernatural stuff that Hamner likes to do in addition to this "Movie Murder of the Week."

LMAO!

Didn't Hogan Sheffer explicitly say he doesn't do corporate storylines? That doesn't excuse MAB, but when he was hired, I remembered that Sheffer had said that.

If he said that, then it shows the lack of common sense and intelligence that TPTB had when they decided to hire this guy.

How are you going to hire someone that doesn't do corporate storylines at Y&R? WTF!?

That level of utter incompetence and lack of care for this show from TPTB is very apparent.

Edited August 1, 200916 yr by Y&RWorldTurner

As I mentioned in the writers/directors thread, I think Maria is most likely to blame any damage being done to this show and its horrible state right now on Sheffer and Hamner, than on herself, the enabler.

I believe all three should be fired, but I have a feeling she'd get rid of her two henchmen if we get any change soon.

We already know she can't plot a show by herself and has no ounce of creativity, so who she hires as her next Co-HW is a very vital decision.

In an ideal world, both her and her henchmen would be fired in one move.

If he said that, then it shows the lack of common sense and intelligence that TPTB had when they decided to hire this guy.

How are you going to hire someone that doesn't do corporate storylines at Y&R? WTF!?

That level of utter incompetence and lack of care for this show from TPTB is very apparent.

Why are corporate stories so important to you? I'm genuinely curious.

There have been some good ones, IMO (especially when Brad-Jack took over Newman)...but for the most part I found them awful. Brash and Sassy. Saffra vs. Tuvia. Victor constantly owning Jabot and his brinksmanship. Corporate sabotage and Victor's prosecution. I really hated most of that. I actually really enjoyed NVP in the early days (NOT Clear Springs...just NVP)...but I suspect I was alone in that.

I'd rather NOT see too many corporate storylines. So, I'm eager to hear why others are missing them so much. I did very much like when Victor took over Prentiss Industries all those years ago...but that also demonstrates how redundant Victor's corporate stories have been.

Why are corporate stories so important to you? I'm genuinely curious.

When the only professional aspect of this show is Restless Style, you know something is wrong, very wrong.

I don't understand having Newman and Jabot on this show if nothing is going to be done with them.

I'd rather NOT see too many corporate storylines. So, I'm eager to hear why others are missing them so much. I did very much like when Victor took over Prentiss Industries all those years ago...but that also demonstrates how redundant Victor's corporate stories have been.

Regardless, if you like them or not, corporate intrigue used to make Y&R distinct from other soaps, and they used to excel at this type of storytelling. Some of them might have been recycled, but they were rather well-explained, and gave characters an outside life with problems that weren't strictly domestic, dealing with psycho villains, or some inane love triangle.

Who is asking for TOO MANY corporate stories? The fact is, this part of the show has been neglected, like so many other things, by this writing regime.

So, you'd rather more psychos, murders, rushed romances, weak women stories over one corporate tale?

This writing regime does not get this part of the show, which is a huge part. If you don't get a huge part of this show and freely admit that, you SHOULD NOT be writing for this show.

But then again, you were freely advocating for a baby switch storyline not so long ago, which I detested. So, you and I clearly come different story directions.

There's more to this show than just doom and gloom, there's a whole professional aspect that could give many characters something to do that isn't being explored.

Edited August 1, 200916 yr by Y&RWorldTurner

The problem is the show wants it both ways.

They don't want to do corporate stories, yet they want to try to drop them into the story at random times as plot points. Like this stupid storyline about Colleen's board seat. Or the embarrassing stuff with Gloria/Jeffrey/Jill going against Victor.

The other problem is that they aren't particularly doing other storylines well at the moment, most of the romances are horrible, most of the "thriller" stories are a confusing, repulsive monster. So they don't seem to even excel at what they enjoy.

I have stopped watching regularly. This show is ALWAYS supposed to be BETTER than the rest and now these "writers" have brought it down to the norm level of the current soaps.

Edited August 2, 200916 yr by Amello

Regardless, if you like them or not, corporate intrigue used to make Y&R distinct from other soaps, and they used to excel at this type of storytelling. Some of them might have been recycled, but they were rather well-explained, and gave characters an outside life with problems that weren't strictly domestic, dealing with psycho villains, or some inane love triangle.

I totally agree. I loved that Y&R's characters actually WORKED. After all, IRL, people spend most of their lives at work and most people consider their jobs integral parts of their identities. And work forces people to interact with people who are unlike themselves. Hence, you had Drucilla mixing it up with the Abbotts and the Newmans, and it helped make a more integrated canvas. (Notice how isolated Neil has become now that there are fewer corporate stories.) And work situations are always ripe for conflict, with insecure, ambitious people vying for power and validation.

Work gave people like Ashley, Jill, Neil, Brad, Victoria, etc. different shades to their personalities. Even if Jill's personal life was out of control, you could be sure she would kick some ass in the boardroom. Same with Ashley. It made them more complex, less one-note people.

Even if you got rid of Sheffer, you'd still have one more person in charge who's against corporate storylines and that is Paul Rauch.

I totally agree. I loved that Y&R's characters actually WORKED. After all, IRL, people spend most of their lives at work and most people consider their jobs integral parts of their identities. And work forces people to interact with people who are unlike themselves. Hence, you had Drucilla mixing it up with the Abbotts and the Newmans, and it helped make a more integrated canvas. (Notice how isolated Neil has become now that there are fewer corporate stories.) And work situations are always ripe for conflict, with insecure, ambitious people vying for power and validation.

Work gave people like Ashley, Jill, Neil, Brad, Victoria, etc. different shades to their personalities. Even if Jill's personal life was out of control, you could be sure she would kick some ass in the boardroom. Same with Ashley. It made them more complex, less one-note people.

This is what I'm talking about! I completely agree Faulkner.

And complete and total WORD to Y&RWorldTurner's post.

I have stopped watching regularly. This show is ALWAYS supposed to be BETTER than the rest and now these "writers" have brought it down to the norm level of the current soaps.

Isn't it sad? Even worse, Y&R anchors every network daypart. Without it, soaps and most of network talk/game are kind of screwed.

Edited August 2, 200916 yr by bellcurve